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SUMMARY:A case for attribution: the Emma Darwin portrait - Matt Turner
DTSTART:20140904T121000Z
DTEND:20140904T130000Z
UID:TALK54108@talks.cam.ac.uk
CONTACT:Dr Duncan Needham
DESCRIPTION:This talk will present the evidence for attributing the Emma D
 arwin portrait to the artist Charles Fairfax Murray\, having previously be
 en held as English School.\n\nCharles Fairfax Murray was John Ruskin’s p
 rotégé\, assistant to both Dante Gabriel Rossetti and William Morris\, a
 nd has recently been referred to as ‘The Unknown Pre-Raphaelite’.\n\nI
 n 1886\, John Henry Middleton\, Slade Professor of Fine Art at Cambridge\,
  and later the Director of the Fitzwilliam Museum (1889-92) and South Kens
 ington Museum (1892-96)\, wrote to Murray informing of George Darwin’s w
 ishes for a portrait of his mother\, Emma Darwin. The following correspond
 ences between the Darwins\, Charles Fairfax Murray and others regarding th
 e portrait reveal insights into the Darwins’ familial dynamics and their
  position of influence within Cambridge’s social and academic elite\, wh
 ile the history of the commission helps to explain the stylistic decisions
  and successes of the portrait.\n\nWhile the portrait acts as an introduct
 ory tool to Charles Fairfax Murray\, the manner of its production represen
 ts a significant basis for discussion of Murray’s role as an artist\, a 
 copyist\, and his increased movement into art dealership and connoisseursh
 ip\, which led to his work as a consultant for the South Kensington Museum
  and his donations to major public collections.
LOCATION:The Richard King Room\, Darwin College
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